Posts Tagged by Euripides
|December 27, 2018||By Gregory Nagy listed under By Gregory Nagy||
2018.12.27 | By Gregory Nagy
I challenge myself here to write up seven elementary “plot outlines”—I call them overviews—for seven Greek tragedies: (1) Agamemnon and (2) Libation-Bearers and (3) Eumenides, by Aeschylus; (4) Oedipus at Colonus and (5) Oedipus Tyrannus, by Sophocles; (6) Hippolytus and (7) Bacchae (or Bacchic Women), by Euripides. In my overviews, I expect of the reader no previous knowledge of these seven tragedies.
|August 10, 2018||By Gregory Nagy listed under By Gregory Nagy, H24H, News|
2018.08.10 | By Gregory Nagy
§0. The picture on the cover makes me think about heroes, athletes, and poetry. What we see is an Amazon, riding on horseback, engaged in mortal combat with a male adversary. As I have shown in previous postings about Amazons, especially in my comments on Antiope, queen of the Amazons, in Classical Inquiries 2017.10.18, these female warriors were considered to be not only heroes but even cult heroes. Also, Amazons were paragons of athleticism, which we see amply displayed in the many surviving references in the visual arts, as here, to their expertise in riding horses. The athleticism of these Amazons is typical of heroes in general, both male and female, who are figured by poetry as models in the mythical past for athletes in the historical present of the ancient Greeks.
More on the love story of Phaedra and Hippolytus: comparing the references in Pausanias and Euripides
|August 3, 2018||By Gregory Nagy listed under By Gregory Nagy, H24H, Pausanias reader||
2018.08.03 | By Gregory Nagy
In the posting for 2018.06.21, I highlighted a painterly vision in the narrative of Pausanias about the erotic passion felt by Phaedra for Hippolytus. In that vision, Phaedra is viewing Hippolytus exercising naked. And the agent of the vision is the goddess Aphrodite. In the present posting, for 2018.08.03, I compare another painterly vision—this time, in the poetry of Euripides. In this vision, Phaedra is viewing her own self, but this self is now transformed. Phaedra sees herself as Artemis the Huntress. The agent of Phaedra’s vision is still the goddess of sexuality, but the object of this vision is the goddess of sexual unavailability. In the painting I have chosen as cover for this posting, Hippolytus looks just like Artemis the Huntress, and the white space I artificially interpose to separate him from the glowering Phaedra can be seen as a symbol of her frustration.
|April 20, 2018||By Gregory Nagy listed under By Gregory Nagy||
2018.04.20 | By Gregory Nagy
The comments in this posting about the Herakles of Euripides derive from a set of compressed notes I had started writing in 1999. These notes were meant as a companion to the Herakles as translated by Robert Potter—his translations of Euripides first appeared in two volumes, 1781 and 1783—and as adapted by Casey Dué and Mary Ebbott in 1999.
|March 26, 2018||By Thomas Scanlon listed under Guest Post||
2018.03.26 | By Thomas Scanlon
An exploration of the figure of Achilles in Euripides’ Iphigeneia in Aulis in relation to its historical context, particularly the Peloponnesian War.
|February 14, 2015||By Gregory Nagy listed under By Gregory Nagy, H24H||
2015.02.14 | By Gregory Nagy
§1. In Hour 20 of The Ancient Greek Hero in 24 Hours (H24H), I wrote about the hero as a mirror of men’s and women’s experiences in the Hippolytus of Euripides with a focus on the key word telos, ‘end, ending, final moment; goal, completion, fulfillment; coming full circle, rounding out; successfully passing through an ordeal; initiation; ritual, rite’.